On The Film Theory Of Film In The World In The 1980 S Translation

the 1980s is a progressive and powerful era during which theunrestricted and impassioned atmosphere contributed to the unprecedentedflourishing of the theories and creations of Chinese films. Thetheoretical translation and introduction of foreign film were developinggrandly. They came into the sight of the public and, along with home filmcreations and research of theories, they produced the commemorableenthusiasm of China’s movies. As the sole magazine on introducing offoreign film’s theories, the World Films did much to the theoreticaltranslation and introduction of foreign films. Its profound theories lentsignificant support and promotion to the China’s films. Thus, the researchon the theoretical translation and introduction of the World Films is ofgreat significance. From this angle, deep through into that of the foreignfilms in the 1980s, we are expected to seize the full sight of pictureabout to what extent Chinese films embraced the foreign ones and what theirtheoretical research and practical creation, nourished by their foreigncounterparts, were like in the 1980s, so as to watch more attentively thatera in a fuller scale, through the historical mist.In terms of the structure, this thesis is divided into five chaptersto illustrate the theoretical translation and introduction of the WorldFilms in the 1980s. The Prelude introduces the background of thetranslation and introduction, the column arranging and magazinepositioning from its ontic angle; Chapter One, namely, the profoundtheoretical translation and introduction, is aimed to select and classifythe theories during the decade of the World Films and exert an outlineto the full picture of the theories; Chapter Two, the features of thetheoretical translation and introduction of the World Film in the 1980s,elucidates such features as its complexity, orientation, and periodicity;Chapter Three, the influences of the theoretical translation and introduction of the World Films in the 1980s, mainly involves theinfluences on China’s films development exerted by the foreign theoriesincluded in the World Films. As the most essential part of the thesis,this chapter illustrates theoretically and practically, on the basis ofwhich the thesis is supposed to draw a semi-final conclusion to themagazine’s status during the course of the modernization of China’s films.Chapter Four, the revelation and drawback, attempts to the conclude thedownsides of the translation and introduction of the World Films in the1980s as well as their enlightenment to the contemporary reality.The thesis is intended, through its explorative research, to lendexperiences to the late comers, attract increasing focus on the filmperiodicals and magazines, and broaden the path to them afterwards.